“Loopholes, resurrected characters, plot resets, ever-branching arcs: time travel is an infinitely flexible conceit, limited only to its own pseudoscientific rules of causality. The new Netflix movie “See You Yesterday” makes an unusual contribution to the time-travel canon while highlighting one of its most prominent flaws: the racial privilege baked into these stories, or the dangers of time-travelling while black.
From Marty McFly to James Cole and even Wolverine, time travellers are almost always white and frequently male. It’s a practical choice on the part of writers. Post-Reconstruction? Not a problem. Colonial times? Let’s make it a three-day weekend. Time-travel shows and movies tend to fall into one of two categories: quaint personal journeys and heroic quests. In stories like “Back to the Future,” “The Time Traveler’s Wife,” and “The Butterfly Effect,” the scale is that of a personal narrative, with a white protagonist comfortably insulated from a larger racial history. On the other hand, in stories like “12 Monkeys,” “The Terminator,” and “Timecop,” the central conflict is so large—apocalypse, dystopias, national or global disasters—that the narrative can easily sweep past issues of race. (As for forward time-travelling, the future tends to be surprisingly post-racial, as evinced in “Star Trek” and “Doctor Who.”)”
Continue reading at The New Yorker by clicking the link in the title.
“Nearly a year ago, the chef Eric Adjepong stood in Macau on the set of the “Top Chef,” having made it to the finals of the cooking competition show. The only thing standing between him and the title was a four-course meal, served in two parts. He’d decided to use his menu to show the judges how influential Africa’s culinary heritage is on other parts of the world, including America.”
“Haiti is a Caribbean country rich in revolution and Black freedom. Enslaved Africans achieved independence from France in 1804, after centuries of colonial rule. Haiti, which means “mountainous country” in the language of the Taínos who first inhabited the land, is the source of inspiration for the works of the women on this list — for its beauty, its resistance and its turmoil.
Here, brilliant Haitian women authors, on the island and in the diaspora, you should know and read.”
“What started out as the topic of an essay written back in 2013 has now become the rallying cry behind multiple award-winning writer N. K. Jemisin’s first short story collection.” […]
“Her stories run the gamut from hard science fiction, to cyberpunk, to alien invasion, to steampunk, to urban fantasy, and more, and more, and more. Jemisin’s vision is limitless, and in every story, in every world, you get the sense that she is testing the waters, tasting the air, getting a sense of how this genre works, and how she can best use it to her strengths.” […]
“Many of her short stories revolve around similar themes: community, revolution, justice, revelation, power, and more. Jemisin isn’t satisfied with just looking at a system from the outside, and documenting what’s seen; she’s far more interested in digging her hands into the cogs and gears of how such systems work, who they benefit, and how they can be recreated so that there is a more even flow of justice, of power to those who have none, of compassion for those who have been ignored.”
For more, check out the original article at tor.com (Link in title)
“Que dit la peinture de la perception des Noirs dans les sociétés européennes du XIVe au XXe siècles ? Après avoir étudié près de 5 000 tableaux sur lesquels figurent des personnages noirs, Naïl Ver-Ndoye et Grégoire Fauconnier en ont tiré l’anthologie Noir, entre peinture et histoire. Cet ouvrage dense met en lumière des figures restées dans l’ombre de l’histoire de l’art. Leurs trajectoires singulières, du diplomate au soldat en passant par le domestique, éclairent l’histoire des relations entre l’Europe et l’Afrique. Entretien avec Naïl Ver-Ndoye, professeur d’histoire-géographie.”
“Au Sénégal, il y a eu 1966, année du premier festival mondial des arts nègres, et il y a 2018, celle pendant laquelle le musée des Civilisations noires a été porté sur les fonts baptismaux. Ainsi, ce 6 décembre est à marquer d’une pierre blanche dans l’histoire d’un pays, le Sénégal, et d’un continent, l’Afrique, qui reconquièrent doucement et sûrement leurs espaces culturels, leur mémoire aussi. Plusieurs pays d’Afrique mais aussi non africains, la Chine et la France, entre autres, ont assisté à l’inauguration de cet écrin des peuples noirs”
“Le 3 mai 1536, Jacques Cartier attira en donnant un prétexte le chef Donnacona et neuf autres autochtones près de ses caravelles pour ensuite les enlever et les amener en France. Ils y moururent tous. Vous ne le saviez pas ?
Il y a au minimum quatre théories qui pourraient expliquer la présence autochtone en Amérique dont une qui dit que les autochtones vivraient sur cette terre depuis des temps immémoriaux. Vous ne le saviez pas non plus ?
Je ne vous le reproche pas. C’est plutôt normal. Les anciens programmes d’histoire du Québec et du Canada n’en parlent pas.”
“EXCLUSIVE: Kwame Kwei-Armah, the artistic director of London’s Young Vic, is to adapt the story of the Haitian Revolution after Bryncoed Productions optioned C L R James’ The Black Jacobins: Toussaint L’Ouverture and the San Domingo Revolution.”
Kwei-Armah, a playwright, director and actor, who has appeared in shows such as BBC’s Casualty and Skins and voiced Mtambo in The Lorax, is to adapt the book into a ten-part television series.
The book, which was written in 1938 by the Afro-Trinidadian historian, charts the history of the Haitian Revolution of 1791-1804. The series will start with the first slave revolt of 1791 and end with the Haitian declaration of independence in 1804, will explore the nature of leadership, its compromises, its glories and the range of personal cost it claims”
“On Monday, Robson, her husband, Joe, and their son and daughter-in-law, will be at the Canadian Museum for Human Rights in Winnipeg to witness the launch of the bill that features Desmond’s image. Desmond is the first Canadian woman to be featured alone on a regularly circulating banknote. The historic event comes 72 years after Desmond, a Halifax businesswoman, was arrested and tossed out of New Glasgow, N.S., movie theatre for sitting in the whites-only section.”